We've hired a driver to take us on a leisurely tour from Limerick (pop 102,287 in 2022), east through County Tipperary to the city of Kilkenny (pop 27,184 in 2022). The route takes us first into the town of Tipperary, a typical workaday place in the heart of Ireland, then to the Slievenamuck hills just to the south.
Over the ridge, we enter the Glen of Aherlow. We stop at the "Christ the King" (Niff Brothers, 1950; replaced, 1975) and drink in the lowlands known as the Golden Vale, some of the richest farmland on the island. The shadowy Galtee Mountains form a backdrop. A placard tells us:
This statue originally erected by voluntary labour during the Holy Year of 1950. It became known far and wide as the symbol of the Glen of Aherlow.It depicts the hand of Christ the King raised "in blessing the Glen, its people and all those who pass by". It is a tradition on the last Sunday of the Church year to say prayers at the statue.The life size white figure stands on a pedestal of Kilkenny limestone. The steps are made from quartz, which come from Achill Island and the wider base is local Sandstone and stone from Gortdrum mines.
We arrive at Cahir Castle (13th-17th centuries, rebuilt 19th century) in the late morning. The Castle occupies an island on the River Suir, which acts as a natural moat. Its main defensive towers face the morning sun, so we cross the Suir and approach from the north, passing the Northeast Tower.
The Castle's early history includes history Conchobar Ua Briain, King of Thomond (12th century); the O'Brien Dynasty in the (12th-13th centuries); and the Butler Dynasty (14th-17th centuries). The Castle sees its greatest military action during the time of the Butlers (16th century).
From the bridge, we turn south towards the Barbican, with a dry moat behind the river wall. The Barbican is topped with the Butler family's heraldic crest and an eagle, who is clearly keep an eye on the ducks and geese.
We join the guided tour and enter the Outer Courtyard. Here, our guide lists the defensive features: the central rounded bastion, the machicolations, the murder holes, the portcullis. The Outer Courtyard is a spacious, rectangular outer bailey.
Through the second gate, and we are in the Middle Courtyard, a narrow, canyon-like space between the walls. Past the portcullis, we find ourselves in the Trap Area, a pocket of protected space between the outer and inner baileys.
We cross under the Gatehouse-Keep, and into the Inner Courtyard. Timber pockets and stone corbels create lines and edges, reminders of missing structures; a corner window fills an old strategic arrow loop.
The Northwest Tower and Great Hall are in front of us, with a missing section to the Keep as evidenced by the exposed fireplace. The public door to the Great Hall sits at the south end, within that missing section.
The Great Hall (11th century) is one of the oldest parts of this amazingly well-preserved fortress. Our guide introduces the room by underscoring its authenticity, pointing out the grand scale and the beautiful trusses. Over his shoulder, the skull and antlers of an Irish elk (extinct, but a popular medieval 'trophy') dominate the far gable.
However, he thanks Ridley Scott and Matt Damon for the fiberglass fireplace surround, as it was created during the production of "The Last Duel" (without the surround). He taps it with his knuckle for proof.
A narrow stair leads up to the Northwest Tower (13th century). Larger double-pane windows, more recent modification, offer views upstream towards the village and Saint Paul's Church (Church of Ireland, John Nash, 1816-18). A discrete corridor in the corner connects to the 'garderobe' (toilet).
Another double-height room, open to the rafters, is on the upper lever of the Tower. However, the low windows, 'floating' door, and additional corbels are signs of a missing floor and attic.
We exit the Northwest Tower and walk towards the smaller Well Tower, the round bastion on the exterior of the parapet. At its base, a stair leads down to the lower level where a pair of small cannons point backwards to the Trap Area and the Gatehouse-Keep.
From the Northeast Tower, we scan away to the Keep. The Great Hall's stonework is intriguing: the stepped crenellations, the cornice line over the arrow loops, and enough plant growth to give a sense of age. The base of the Keep flares outward, amplifying the solidity of the form.
The medieval character and history pour out of these stones. This fires the imagination and explains its use as a filming location, including the following: "Barry Lyndon" (1975), "Excalibur" (1981), "The Tudors" (2007-10), and "The Green Knight" (2021). But we question if it was right to leave "The Last Duel" fireplace.
Downstream from the Castle is the Swiss Cottage (John Nash, 1810-14), built by one of the Butlers, Richard Butler, First Earl of Glengall and Tenth Baron Cahir and built for his wife Emily Jeffereyes. Local legend says that her mother, Arabella FitzGibbon Jeffereyes, sister of the Lord Chancellor, saved the Earl from a life of poverty, so theirs is a unique love story (from the brochure):
Richard's was a rags to riches saga of unlikely inheritance. In the late 1780s, aged 12, he was living in poverty in Cahir with his mother and sister. Serendipitous deaths meant that the late Baron Caher's estate fell to him.Jealous relatives shipped Richard and his sister to France to stake their claims instead, but the plot was foiled by Arabella Jeffreys of Blarney Castle, sister of the Lord Chancellor.She retrieved the children, and arranged a marriage between Richard and her daughter Emily for whom this romantic folly was built.
We cross a footbridge, flanked by eagles, and enter through an underground passage. The tunnel connects to the old kitchens, now a ticket office.
The Cottage runs east-west, with the north side facing a shallow garden on a hill overlooking the river and the east end facing an ancient yew tree, said to date from the ninth century when a Christian monastery occupied the promontory. The south side faces a formal lawn, where carriages would have arrived, back in the day, after a pleasant ride on the riverbank and through the woods.
A cottage orné had to be very carefully sited - it should appear to blend with the surrounding landscape as if it too were part of nature. It was important that the house itself should be secluded in a wooded area although the views from the cottage should be wild and beautiful; preferably with a view towards the mountains and close to the sound of running water.In order for the cottage to blend with its surroundings, it should blend with the irregularities in nature, so the roof isn't level, doors and windows are different shapes and sizes, and the tree trunks supporting the veranda are meant to resemble the roots of the cottage. The veranda extends all around the cottage, and gives a false impression of size; there are only four rooms inside.
The exterior is a celebration of 'natural' details: the lattice and scroll work, the thick thatched roof, the sculpted openings around the dormers, the 'tree-trunk' columns, the sinuous shingles of the lower roof.
From the Verandah, diamond glass doors lead into a central Hall. A wooden spiral stair, 'peeled' from the floor above, coils down to a 'spider web' floor. For now, we turn left (west) to the Dufour Room (Tea Room), named for fantastic hand-painted wallpaper (early 19th century) from Joseph Dufour et Cie in Paris. Much of the wallpaper is replaced, but there are patches of the original artwork; they all bring life on the "Les Rives du Bosphore" and 'Constantinople' to Ireland.
Despite the chimneys above the thatched roof, the 'knotty-wood' fireplace has been superseded by a steam radiator. Someone has painted some 'exotic' pottery on the back plate, while the etched glass adds to the pastoral imagery.
The wallpaper of the Music Room, at the east end of the Cottage, wreathes the walls with a grid of leaves and garland borders. Seatings areas fill the bay windows facing the yew tree (east) and the garden (north). The chairs keep the same 'knotty-wood' theme as the fireplaces.
Lady Glengall's portraits hang over the mantle, showing her dressed for the romantic pretense as both a Lady and a peasant girl.
From the upper level of the Landing, the tour continues to the east in the Master Bedroom (above the Music Room). On the north side, French doors open to a terrace that looks over the garden and the river. Shaped dormers to the east and south add natural light.
The eaves, the furnishings, and accents are all coveredd with the same fabric, a decorating treatment known by the French term "tissu d'ameublement". The fabric design involves alternating rows of architectural ruins, birds, and sinuous branches and is from Robinsons of Ball Bridge (Dublin, late 18th century).
The Small Bedroom takes up the other side of this level, with elegant, angular-headed doors out to its west-facing terrace. The irregular architectural elements blend into the live vines growing over the railing. The wallpaper here echoes the vines in a trellis pattern. The 'pastoral' theme extends to the iron fencing around the lawn, separating wild nature from man-made 'nature'.
Conceived as a playhouse for the rich, the environment and art history have reclaimed the Cottage as an authentic collection of unique crafts and design ideas. And so it seems to have moved in the opposite direction to the Castle, which now may be used as set dressing.
We must mention, for memory's sake, our driver's fascination with horse racing. He takes us to an equestrian-themed restaurant (Sadler's) for an amazing lunch and a good long introduction to the sport; this involves more than one large-screen television
The Rock of Cashel (12-13th centuries, online brochure) is meant to be the highlight of this short road trip – an introduction from the sign by the road reads:
ST. PATRICK'S ROCKThe Rock of Cashel, one of lreland s most historic sites, was the seat of the kings of Munster from the 4th century until 1101, when it was presented to the Church.The most important monuments here are:Cormacs Chapel, built by Cormac Mac Cárthaigh, King of Munster, in 1127-34, the most remarkable Romanesque Church in Ireland. St Patrick's Cathedral, which was built in the 13th century and continued in use until 1748. The Castle, the bishop's residence where the Earl of Inchiquin massacred hundreds in 1647. The Round Tower built in the 12th century. A replica of St. Patrick's Cross which stands on a pedestal of granite at the entrance to the Rock. The Hall of the Vicars Choral, built by Archbishop O Hedian in the 15th century.
Our driver leaves us at the intersection at base of the Rock, and we make our way up the road to the west, between the outer walls and the stratified rock. We arrive at the ticket office in the southwest corner of the site. Because of our OPW 'Heritage Cards', the docent offers to let us join the guided tour of Cormac's Chapel (12th century). With wrist bands in hand, we continue uphill, then turn east; we meet the tour coming through the graveyard, already in-progress.
To fill in the blanks, here is a quick history from the OPW web page:
Set on a dramatic outcrop of limestone in the Golden Vale, The Rock of Cashel, iconic in its historic significance, possesses the most impressive cluster of medieval buildings in Ireland.Originally the seat of the kings of Munster, according to legend St. Patrick himself came here to convert King Aenghus to Christianity. Brian Boru was crowned High King at Cashel in 978 and made it his capital.In 1101 the site was granted to the church and Cashel swiftly rose to prominence as one of the most significant centres of ecclesiastical power in the country.
IN 1127, Cormac Mac Cárthaigh, patron of the Chapel, takes the title of King of Munster (1127-34) and breaks the O'Brien Dynasty's line from Briain Boru (Bóramha, 978-1014). Having travelled in Europe, he orders the Chapel to be made in the Romanesque style and of sandstone rather than the dull grey limestone of the surrounding masonry, which is somewhat reminiscent of Cahir. The sandstone rises to the roof and on up to the ridge, resembling the oratories we saw near Dingle. Thus, its earth-toned surfaces stand apart, and are both intricately carved and deeply weathered. However, where needed, the fresh, crisp repairs are easily identified.
The south portal epitomizes this contrast: arches and sills in the blind arcades are patched, and at the top of the architraves several of the chevrons and billets are replaced with new, including many of the nearby ashlars where the structure would otherwise be weakest. However, the inner chevrons and the tympanum relief are original – worn and weathered, yes, but honestly so. The image of the 'ox' is engaging and evocative, and may represent Saint Luke.
The interior expresses the same thoughtful treatment. Looking east toward the chancel vault, the blind arcade on the north (left, Evangelist side), among other elements, is mostly restoration, while the arcade on the south (right, Epistle) looks aged. The four panels in the chancel explain the present state scholarship and the attempted visual reconstruction of the Romanesque fresco remnants:
The vaults and upper walls contain scenes from the Life of Christ, with the Baptism clearly visible within a niche on the south wall. The lower areas are decorated with a complex geometric pattern, painted to look like textile wall hangings (see accompanying illustration). From discoveries made during the conservation work it is clear that the frescoes originally extended over all surfaces, incorporating the existing architectural features and carvings.
An arched niche centers the eastern face below the vault, with a tall rail matching the height of the capitals of the north and south arcades. An altarpiece must have filled this 'blank' wall space. A smaller-scale blind arcade rests on this rail up to a cornice that matches the sill of the low clerestory on each side, with much of the intricate detail still visible.
Five corbels in the shape of heads line the top of the vault arch, with a sixth face slipped onto the keystone. Three additional heads form the corbels of each clerestory vault, however, the center corbel at the south side includes two faces. These are described as 'grotesques' or 'chimera', though we wonder if there is an alternate reading as it seems strange to have these in the chancel.
When we study the frescoes, this idea becomes stronger; perhaps the faces relate to the frescos in some way. In particular, the description of the western quadrant (nearest the chancel arch, without corbels) helps piece the puzzle together:
The composition of figurative scenes within architectural arches, with smaller figures - possibly prophets - within arches in the lower vault angles, was continued throughout the vault. This quadrant contains a scene showing the Magi before Herod. King Herod is holding a scroll bearing the words 'ET INTERROGATE DILIGENTER DE PUERO' - 'GO AND SEARCH DILIGENTLY FOR THE CHILD'. The conservation work led directly to the identification of this scene and the conclusion that the vault was originally decorated with a cycle of paintings illustrating the Infancy of Christ. This is borne out by the discovery of the words 'PASTORES' on the southern quadrant - undoubtedly a reference to the Adoration of the Shepherds. It is therefore likely that the north and eastern quadrants originally contained the Journey of the Magi and the Adoration of the Magi respectively.
The tour moves into a compact, triangular courtyard between the Chapel and the Cathedral. The Chapel's elaborate north door is a 'gabled arch', the first of its kind in Ireland, and is the former main entrance. The archivolts and the linear designs in the gable front are in a remarkable state of preservation. An ingenious sheet metal roof helps to drain the rain away from the porous stone.
The animal in the tympanum appears to be a 'lion' and may represent Saint Mark, to compliment Saint Luke at the south door. On the other hand, the inclusion of the centaur-archer confuses the connection. Other mythological creatures wrap the capitals and the keystone.
Our guide suggests that the builders of the Cathedral may have intended to isolate this impressive doorway to diminish the importance of Cormac. The Cathedral's founding patron is Marianus O’Brien, Archbishop of Cashel (1224-37); and in 1138. And Conchobar Ua Briain (from Cahir Castle) reclaims the title of King of Munster for the O'Brien Dynasty, after Cormac's removal from the throne (1134) and his conversion to a monk.
Finally, our guide explains the sarcophagus (12th century) at the west end of the nave. It is thought to be the tomb of Cormac Mac Cárthaigh (died 1138), though it may also be the tomb of his brother Tadhg Ma Cárthaigh (died 1124) – Cormac became King of Cashel after Tadhg's passing. Another part of the mystery, the contents of the sarcophagus includes the head of a crozier.
The sarcophagus is wonderfully carved from a single block of stone in the ‘Urnes’ style, with traditional Viking motifs of intertwined animals forming the symbol for infinity (eternal life). Though we didn't hear the guide discuss the idea, it's possible the western portal (now a window) allowed access from the Cathedral. The ashlars below the window appear to be newer construction. But this is a excellent place for the sarcophagus, with the light from the south door raking the deep relief.
The guided tour ends and we leave the Chapel. The summit is dotted with high crosses and rounded tombstones. The salt and pepper textures of lichens and mold animate the surfaces, blending the grave markers and the Cathedral – different quantities but all the same ingredients.
The Round Tower is from the same general time as the Chapel but made from limestone. We try to picture the hilltop without the Cathedral – just the Chapel and the Round Tower. The Cathedral is oriented so that the transepts are to the west of both older structures. This may be the reason that the eastern arm of the Cathedral, the chancel and choir, extends a length out of proportion to the transepts.
A square block rises from the crossing, with the gable ends slotted behind the parapet. The collapsed triple-light east window leaves an extremely thick and wide buttress on the north side to support the enormous, abandoned jamb. Scully's Cross (1860) dominates the far north east corner of the plateau; the top was blown off by a lightning strike in 1976.
Adding to the dark drama, the ruins of Hore Abbey (13th century) rest in the northern plains. Relief arches high above the transept windows direct the rain, and result in a 'raised eyebrows' appearance, as if reacting in astonishment.
We enter Saint Patrick's Cathedral (13th century) from the north side. There is no western portal as a residential tower (15th century) stands where the narthex should be. Once inside, we realize that the Latin cross plan is inverted – we enter the head not the foot of the cross. The nave is shorter than the transept arms; we can only guess that the worshippers were forced to sit in the transepts, without a sight line to the altar.
Deeply chamfered, triple-lancet Gothic windows are at the ends of each transept, north and south. A set of five lancets runs along the north side of the chancel and another set of five at the south side of the choir. Given the number of grave lids and the tombs at the sides, the choir also seems to serve as a chapel.
The wall tombs of two archbishops are in the choir: in a large niche in the south wall, the elaborate tomb of Archbishop Miler McGrath (served 1570-1622; O'Brien clan), and in the north wall, the tomb of his successor Archbishop Malcolm Hamilton (served 1623-29).
We exit the Cathedral from the south porch, a more formal composition with its radiating stairs. Though it seemed intact from the north, we see that the end tower is in ruins as well, a large corner block seems to be lying near the porch. From this perspective on the sunnier side, we recognize the Cathedral's construction at the beginning of the Gothic era. Though the thick walls and defensive nature of the location seem more Romanesque, the architectural forms are clearly Gothic.
We walk down the road while constantly peeking back; the Rock is an astonishing sight and seems to grow taller as we descend into the tiny town of Cashel. Our driver is waiting by the knitting shop at the bottom of the road.
We have one more stop before the end of the tour, Kells Priory (12th century; 'digital trail' tour) just south of Kilkenny. The parking is a quite distance to the south of the Priory, by a picnic area near the side of the road and an old derelict farmhouse. We must cross a broad, sheep pasture, and the path, where there is one, is covered with droppings, so we tread very carefully.
We are now in County Kilkenny; the site is on the south bank of the King's River. We approach three fortified towers with a continuous curtain wall, and more towers and gables just over the top. These are described by the 'digital trail' guide as Tower Houses. The map points out the faint trail over the slope to the east, towards the Outer Gatehouse. The OPW sign reads:
The first Norman church at Kells was founded by Geoffrey FitzRobert de Marisco in 1183. A decade later he invited Augustinian canons (priests) from Bodmin in Cornwall to settle at Kells, and the priory was established. All the buildings were arranged around a central cloister or courtyard. The church, on the north side, was built as a nave and choir, with an aisle and two transepts, one of which was later blocked off. It had painted glass in its windows, painted plaster on its walls and elaborately decorated floor tiles.On the south side of the cloister is the refectory or dining hall. In its south wall are the remains of the pulpitum where one of the community read aloud while the others had their meals in the 15th century, a walled courtyard with five towers was attached to the south side of the priory. As this was a time of increasing lawlessness, perhaps the late medieval monastic community preferred to keep their livestock in the courtyard rather than in open countryside.
The Prior's Vill is a vast open field intended, not as an outer bailey or ward to house soldiers, but as a protected area for livestock. Thus, the Vill and the Tower Houses constituted a kind of defensible, high-rise, medieval argo-village. The Priory is Augustinian, and the monks lived as a community, provided pastoral care to the towns and farms, and so did not live in isolation.
To the north, the Watergate Tower stands at the center of the 'precinct wall' between the Vill and the Priory and straddles an old millstream (now dry). The road from the Outer Gate curves to the west through the meadow, toward and past the Watergate Tower, and on through the western gate. A service road turns sharply to the north, and into a break in the 'precinct wall', at the location of the old watermill (now demolished), which acts as the public entry to the Priory.
We take station behind the far wall near the Kitchen map marker to scan a panorama over the premises. We identify the church by the crossing tower directly to the north. But the rest is a jumble of blocky forms and broken stones – if this was ever a kitchen, it sure is hard to tell.
We are in the South Range. In addition to a kitchen, we know that within this warren of remains there was an infirmary, a refectory, a chapter house, dormitories and so forth. Within the East Range, a Rere-dorter (sanitary drain), like a sunken walkway, connects the domestic functions.
We identify The Cloisters simply from the clean, square shape of the walkway and the residual base of the arcade. A drying patch of grass feels like the last living thing here. The higher arches and gables of the church are just on the other side.
Once inside the walls, it's easy to orient the church. From the Cloisters, we enter the The Transept from the south. The stone frame for the north transept window is complete: three lights and a small rose. We are amazed to find a small tomb near the window, for the family of Patrick Delahunty (died 1932), with colorful flowers. Another slab lid at the base of the transept wall holds two embedded faces, like a couple 'frozen in carbonite'.
The view down the length of The Nave is unremarkable, such is the ruined state of the church, though, in this case, the Nave is in proper proportion. A small room tucked behind the transept holds additional stray and shattered pieces. It is difficult to reassemble the Priory without the 'digital trail' illustrations, with the extra benefit that there are only a few signs and panels required to guide our exploration.
A large lateral chapel, the Lady Chapel, sits between the north transept and the chancel. A few old tomb niches line the walls. Similarly, The Chancel, a deep and layered space, contains many more niches and lids. The chancel arch is mostly intact, but the far east wall, as at Cashel, is blown out.
We return to Cloisters and walk through the East Range to the base of the imposing Prior's Tower, the tallest structure in the precinct. This entire place is fascinating and a true exercise of our art history skills. And there are only a handful of other visitors, so we enjoy our time with little interruption. There's just enough architecture to be something, yet it's so difficult to piece it together, but that does not diminish our enjoyment.
Our tour of County Tipperary ends with more thoughts about 'authenticity' and 'reality', as the Rock of Cashel rises restored, while the Kells Priory melts into the turf. Reaching to an existential plane, we recognize the entropy and the Priory's 'becoming', like the 'fairy forts' we saw in Dingle, just an outline on a riverbank, as the soils gradually absorb the stories – there's authentic grace and grief in that process.
No comments:
Post a Comment